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King for a Day, Glimmerglass Opera


Opera News (2013)

"Bass Jason Hardy, as the clueless pater-familias Baron Kelbar… successfully embodied the buffa spirit, singing (his) music with accuracy and zest and finding humor in the character."

King for a Day, Glimmerglass Opera


DC Theater Scene (2013)

"Jason Hardy... anchor(s) the work with musical intelligence and theatrical experience."

King for a Day, Glimmerglass Opera


Boston Globe (2013)

"…bass Jason Hardy (Baron Kelbar)... provided sturdy vocal support."

King for a Day, Glimmerglass Opera


Opera Lively (2013)

"Jason Hardy as Baron Kelbar and Andrew Wilkowske as La Rocca sang correctly but their shining moments were rather due to their incredibly good comedic timing. They fed on each other and their scenes together - such as the aptly staged boxing match (that substituted for a more traditional duel in the original) - almost brought the house down with laughter."

King for a Day, Glimmerglass Opera


Opera Today (2013)

"Jason Hardy’s reliable bass served the role of Baron Kelbar ably, and his twitchy acting style aptly conveyed the motives of the mercenary noble..."

King for a Day, Glimmerglass Opera


The New York Times (2013)

"The feuding Baron Kelbar (Jason Hardy) and La Rocca (Andrew Wilkowske) were superb"

King for a Day, Glimmerglass Opera


Classics Today (2013)

"Jason Hardy, acting like John Cleese, is a fine, comic Baron Kelbar with an agile bass voice."

King for a Day, Glimmerglass Opera


Opera Teen (2013)

"Jason Hardy as Baron Kelbar was the strongest man of the night. His voice was resonant, commanding, and his diction was crystal clear."

Le Nozze di Figaro, Arizona Opera


Opera Today (2013)

“Jason Hardy, who made his debut at this performance, was a secure Mozart singer with a vigorous, robust sound that matched his energetic stage presence.”

Don Giovanni, Portland Opera


Oregon Music News (2012)

"Jason Hardy embodied the role of Leporello with skillful acting that included stepping on the back of a wooden chair and balancing it on his chin."

Don Giovanni, Portland Opera


The Portland Mercury (2012)

"Jason Hardy as Leporello, Don Giovanni's long-suffering manservant, is the production's unmistakable trump card, earning consistent laughs as the show's much-needed conscience."

Don Giovanni, Portland Opera


Oregon Arts Watch (2012)

“sensational…compelling”

Roméo et Juliette, Bar Harbor Music Festival


Mt. Desert Islander (2012)

“Jason Hardy…enthralls with his deep, rumbling basso, fine acting and Gregory Peck good looks.”

Le Nozze di Figaro, Michigan Opera Theater


Journal Register/Daily Tribune (2011)

“Jason Hardy, making his MOT debut as Figaro, delights with his hearty bass vocals, good looks and charismatic performance. The actor has great comedic timing.”

Le Nozze di Figaro, Michigan Opera Theater


The Detroit News (2011)

“ …the vocal star was baritone Jason Hardy, whose effortless singing as Figaro complemented his assured stage presence. Hardy cuts a tall, lanky figure but also one of almost balletic grace. He's also quite sure of himself vocally, imbuing aria upon aria with a uniform smoothness and luster that only enhances his witty delivery.”

Cosi fan Tutte, Atlanta Opera


Arts Critic Atlanta (2011)

“Bass Jason Hardy was a commanding Don Alfonso. His dark voice and dignified bearing brought a serious tone to the role, yet he handled the comic demands with dispatch.”

Le Nozze di Figaro, Madison Opera


The Capital Times (2010)

“Bass Jason Hardy's Figaro captivates from his first aria…an expressive performer.”

Le Nozze di Figaro, Opera Omaha


Omaha World-Herald (2010)

“Jason Hardy sang with a voice like black velvet ––equally dark and soft. Yet his dark instrument was also remarkably flexible…”

Le Nozze di Figaro, Opera Birmingham


The Birmingham News (2010)

“Jason Hardy was commanding in the title role, his full-throated bass demanding attention from the opera's first words to the well-known arias.”

Don Giovanni, New York City Opera


New York Post (2010)

"Hardy's intense bass elevated the sidekick to tragic hero"

Don Giovanni, New York City Opera


Classical Source (2010)

“Jason Hardy (Leporello) sings with such supple, expressive firmness. Hardy makes the Don’s servant a sympathetically awkward, gangly figure, and Alden makes good use of the baritone’s gift for slapstick comedy.”

Don Giovanni, New York City Opera


New York Magazine (2010)

“… a musically assured and physically alert ensemble…Jason Hardy pits his fine aristocratic voice against Leporello’s cringing-bumpkin mannerisms.”

Don Giovanni, New York City Opera


The New Yorker (2010)

“a rugged Leporello”

Don Giovanni, New York City Opera


Opera Britannia (2010)

“Jason Hardy was a an effective Leporello… and portrayed the servant alternatively with a certain Frank Gorshin-like quality reminiscent of Wait Until Dark, and as an ingratiating Smegal from The Lord of the Rings.”

Don Giovanni, New York City Opera


Bloomberg (2010)

“the cast was outstanding, young, attractive and in splendid voice… Jason Hardy (was) a nimble, charming Leporello, who got a big hand when he balanced a chair on his chin.”

Elixir of Love, Bar Harbor Music Festival


The Bar Harbor Times (2009)

“And then there’s the wonderful Jason Hardy, who… used his terrific instrument to sound unctuous and wheedling… to accomplish this he used his sinuous body language and suggestive facial expressions… Hardy made a perfectly sleazy, yet charismatic 'snake oil' salesman.”

Don Giovanni, Cincinnati Chamber Orchestra


Cincinnati Enquirer (2009)

"As Leporello, Hardy brought wonderful dimension to his character, at times more devilish than his master. His singing shone, and his acting nearly stole the show.”

Don Giovanni, Cincinnati Chamber Orchestra


Music in Cincinnati (2009)

“Jason Hardy as Leporello was the conflicted, comedic everyman who despises the cruel master upon whom he depends, wielding his hefty bass with remarkable flexibility… Any scene in which Hardy appeared, so vivid was his characterization of the trapped Leporello.”

La bohème, Nashville Opera


The Tennessean (2009)

“A moment to remember came with Hardy’s poignant final act performance of “Vecchia zimarra”… His rich bass voice and his compassionate characterization were a privilege to hear and see.”

Don Giovanni, Baltimore Concert Opera


Baltimore Sun (2009)

“Jason Hardy, as Leporello, was another plus… the bass sang with a solid, warm tone and put a very engaging spin on his lines.”

Semele, Florentine Opera


Opera News (2009)

“Jason Hardy’s dual assignment as Cadmus and the wiped-out-but-randy Somnus was sung with a wealth of velvety-smooth bass resonance.”

Le nozze di Figaro, Opera Cleveland


Opera News (2008)

“Figaro was the tall, lithe bass Jason Hardy, who ably made every nuance of his music clear to the audience with voice, face and body. Hardy and Maureen McKay... made a dynamic, winning pair.”

Le nozze di Figaro, Opera Cleveland


Cleveland Plain Dealer (2008)

“Some of the voices do Mozart high justice… Jason Hardy turns in a Figaro of charismatic allure, with an elegant basso.”

Les Noces, Los Angeles Philharmonic


Los Angeles Times (2008)

“…very good.”

Barber of Seville, Opera Birmingham


The Birmingham News (2008)

“Jason Hardy's hearty bass boomed threateningly as Rosina's music teacher, Basilio.”

Don Giovanni, Orlando Opera


Orlando Sun Sentinel (2007)

"As the Don's hapless servant Leporello, Jason Hardy offered comic relief, both vocally and physically. His first-act "Catalog Aria," in which he enumerates the Don's many conquests to an unbelieving Donna Elvira, elicited chuckles from the audience as the number mounted. Even more effective was some second-act business, in which the Don and Leporello exchanged cloaks and the Don then coached his unwilling servant in wooing the unsuspecting Donna Elvira. Hardy and Edelmann were a perfect comic team."

La Bohème, Berkshire Opera


The Advocate (2007)

“Jason Hardy as the philosopher Colline, was outstanding. He has a flair for physical comedy and bass voice that could melt butter. In his fourth act aria, Vecchia Zimarra, in which he says a reluctant farewell to the coat he is willing to sell to aid the recovery of a dying Mimi, he was touching and nearly stopped the show in its tracks. A call of "Bravo!" was appropriate and it rang through the auditorium. His program bio indicates that he will sing Leporello in Don Giovanni soon, but quite frankly his style, his extraordinary good looks and his voice make him a perfect choice for the Don himself.”

La Bohème, Berkshire Opera


Curtain up.com (2007)

“Hardy is delightfully agile and has a beautiful booming voice.”

La Bohème, Berkshire Opera


Berkshire Eagle (2007)

“Among the other men, Jason Hardy, in his debut with the company as Colline, the philosopher, displayed a handsome bass. His farewell to the overcoat he sacrificed for Mimi's medicine, "Vecchia zimarra," is graceful and moving.”

La Bohème, Berkshire Opera


Times Union (2007)

“...bass Jason Hardy, as Colline, gave a fine weight and gravity to that always-curious aria about the old coat.”

La Bohème, Berkshire Opera


WBRK Radio (2007)

“Jason Hardy uses his beautiful and vibrant voice to moving effect as Colline.”

Così fan Tutte, Connecticut Opera


Hartford Courant (2007)

“…bass Jason Hardy and struck just the right balance between low and high comedy; Hardy's Don Alfonso was by turns dignified, cynical, fey and commanding.”

La cenerentola, Opera Birmingham


Birmingham News (2007)

“…bass Jason Hardy played a fine buffoon, wielding his cane precariously and belting out his daughters' defense with bumbling authority.”

Mass in B Minor, National Chorale


The New York Sun (2006)

“Bass Jason Hardy, who was impressive last season at City Opera in Handel's Acis and Galatea, was in finest voice, nimbly presenting the Et in Spritum sanctum…”

Acis and Galatea, New York City Opera


Opera News (2006)

“Brilliantly played by Jason Hardy”

Acis and Galatea, New York City Opera


New Yorker Magazine (2006)

“Jason Hardy brought a strong bass voice and goofy dance moves to the role of Polyphemus”

Acis and Galatea, New York City Opera


The New York Times (2006)

“Jason Hardy's bass, in the role of Polyphemus, had size, quality and was not intimidated by Handel's decorative vocal detail.”

Elixir of Love, Cleveland Opera


Opera News (2006)

“…an ideal Dulcamara… made his singing an object lesson in bel canto…his characterization was funny and full but never grotesque.“

Messiah, Alabama Symphony Orchestra


The Birmingham News (2005)

“...the clear standout…brimmed with expression…a fierce dramatic depiction…the evening's high point.”

Elixir of Love, Cleveland Opera


The Plain Dealer (2005)

“…brings canny mischievousness to the role. His robust bass abounds in tonal beauty and flexibility…”

Don Giovanni, Wolf Trap Opera


Opera News (2005)

“...a commanding bass.”

La cenerentola, Wolf Trap Opera


Washington Times (2005)

“… a bass with low notes and an excellent sense of physical timing”

La cenerentola, Wolf Trap Opera


Washington Post (2005)

“(in) one of the great basso buffo roles in Italian opera, Jason Hardy brought all its acting and singing potential vividly to life.”

The Latest Word, Recital with Steven Blier


Washington Post (2005)

“With a powerful burgundy voice, bass Jason Hardy won the audience over with his humorous antics and expression.”

La Bohème, Palm Beach Opera


Sun-Sentinel (2005)

“As Colline, Jason Hardy showed a magnificent bass voice, and delivered an imposing, richly sonorous farewell to his overcoat.”

Debut Recital, Marilyn Horne Foundation


The New York Times (2005)

“Mr. Hardy showed a healthy sounding bass... The program played especially to Mr. Hardy's good diction.”

La Serva Padrona, New Trinity Baroque


Reading Eagle/Reading Times (2004)

“Hardy's voice was warm, creamy and easily produced, capable of
conveying all the nuances of his role…”

La Serva Padrona, New Trinity Baroque


Atlanta Journal-Constitution (2004)

"Hardy is a major discovery. His bass voice is wide and ringing, with an
easy delivery and an Italianate “ping” in his tone... Hardy was a most
powerful presence"

Elixir of Love, Wolf Trap Opera


Opera News (2004)

“Jason Hardy seized the role of Dulcamara. His bass voice and theatrical personality vividly command the stage.”

Elixir of Love, Wolf Trap Opera


Washington Post (2004)

“Bass Jason Hardy was a splendid, larger-than-life Dulcamara who found
just the right balance of chicanery, opportunism and humor. He handled the patter songs with agility and clarity and both the musical and dramatic
aspects of his assignment with a fine sense of timing.”

Elixir of Love, Wolf Trap Opera


Washington Times (2004)

“brings Dulcamara to life with his broadly comic skills and his clear, unmuddled voice.

Southeastern Festival of Song Opening Gala


Atlanta Journal-Constitution (2004)

“…created a stir. Jason Hardy best conveyed what SEFoS is trying to do:
regale in the human voice but, more meaningfully, tell compelling stories
in music.”

Rigoletto, Opera Birmingham


The Birmingham News (2004)

“a sinister Sparafucile with a solid bass voice.”

Palm Beach Opera Competition


Palm Beach Daily News (2003)

“distinguished, forceful, and dramatically effective”

Marguerite McCammon Voice Competition


Fort Worth Star Telegram (2003)

“...performed so impressively...”

Tales of Hoffmann, Palm Beach Opera


Palm Beach Daily News (2003)

“Jason Hardy sang Crespel with a deeply resonant bass”

Messiah, Annapolis Chorale


The Baltimore Sun (2000)

“…has enormous dramatic flair... a voice of great power and richness combined with a remarkable agility for vocal embellishment... enthralling.”

Annapolis Opera Competition


The Baltimore Sun (2001)

“...his acting skills and a warm, resonant voice... revealed a degree of maturity well beyond his years.”

Die Fledermaus, Merola Opera


San Francisco Chronicle (2000)

“…his Fred Astaire physique and effortless elegance were a delight.”

Creation, Annapolis Chamber Orchestra


The Baltimore Sun (2000)

“Young, expressive voice full of character, elegance, and… more than a
little sex appeal... Splendid: virile and strong and full of interpretive fun.”

Gondoliers, Young Victorian Opera Theater


Baltimore Magazine (1999)

“Best Supporting Actor 1999”


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